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With the TICKET Act’s passage in the U.S. House, several music industry organizations have released full statements in support of the action. Now the law must pass through the Senate.
Several music industry organizations released statements about the passage of the TICKET Act. Some of those statements praise the move, but also call attention to carve outs that may weaken the law as it is written. Here’s a peek at where many industry bodies stand on the passage.
National Independent Venue Association (NIVA)
“The speculative ticketing ban in the TICKET Act is an important step toward restoring trust in the ticketing market,” begins Stephen Parker, Executive Director of NIVA. “Artists, independent venues, and promoters fought tirelessly over the last two years to secure this critical protection. Any ticketing law must truly ban speculative tickets without exception.”
“Unfortunately the inclusion of a ‘concierge service’ carve-out, as written in the TICKET Act, would undermine the speculative ticket ban. Concierge services should not be a loophole for companies like Vivid Seats to claim they are offering a service while selling ‘tickets’ they don’t possess to unsuspecting fans. States across the country have proven that strong, loophole-free ticketing consumer protections work, and Congress should build on that momentum.”
“The White House Executive Order on Combating Unfair Practices in the Live Entertainment Market also made clear that deceptive practices must be fixed, not re-branded. We urge Congress to amend language to make certain that ‘concierge services’ do not empower multi-billion dollar resale platforms over consumers.”
“Further, we support strengthening the law with enhanced penalties and enforcement authority for state attorneys general to deter bad actors and help ensure the law is being followed. Illegal bot use runs rampant in the ticketing industry because the FTC has only brought one enforcement action since the use of bots was banned in 2016. We hope Congress does not miss the opportunity to ensure these laws are actually enforced in the future.”
“We look forward to working with the Senate to ensure that fans, venues, and artists are prioritized in the final version of the TICKET Act.”
National Independent Talent Organization (NITO)
“The TICKET Act that just passed the house does not do nearly enough to protect fans and consumers against bad actors,” NITO said in a joint statement of members. “Vivid Seats spec ticket ‘seat saver’ program is still 100% legal. All-in pricing without itemization means fans won’t know the price the artist sets. Bots will continue to run rampant without stronger enforcement mechanisms.”
“NITO urges the Senate to strengthen this bill prior to passage and we will continue to advocate for stronger protections for our community.”
Recording Academy
“Today’s passage of the TICKET Act by the House of Representatives marks a significant step forward toward improving the concert ticket marketplace,” shares Harvey Mason Jr., CEO of the Recording Academy. “The TICKET Act was a key focus of Grammys on the Hill and the Recording Academy thanks our Congressional leaders for bringing the bill to a vote shortly after meeting with Academy members. We now urge the Senate to act quickly to incorporate the strong provisions contained in the Fans First Act and move a comprehensive ticket reform package that will provide transparency and protect artists and their fans.”
Live Nation
“We’re grateful to Reps. Gus Bilirakis, Jan Schakowsky, Chairman Brett Guthrie and Ranking Member Pallone for re-introducing the TICKET Act, which includes an all-in pricing mandate and bans speculative ticketing—a deceptive scheme that targets concert-going fans. Live Nation has long advocated for such reforms, and we’re hopeful Congress could soon pass these important changes into law to make the concert industry better for fans and artists.”
The Coalition for Ticket Fairness (CTF)
“The Coalition for Ticket Fairness (CTF) applauds the House on the passage of the TICKET Act,” says the organization’s statement. “Introduced by Subcommittee on Innovation, Data, and Commerce Chair Gus Bilirakis and Ranking Member Jan Schakowsky, the TICKET Act represents common sense reforms that will bring much needed transparency into the ticket buying process and give consumers more information as they make purchasing decisions. By empowering consumers, this bill will help lead to a better ticket buying experience and a healthier marketplace.”
Fix the Tix Coalition
“The Fix the Tix Coalition, representing every major constituency of the music and live events industry, applauds the passage of the TICKET Act, as an important step towards restoring trust in the ticketing ecosystem,” the statement reads. “The bill provides transparency with all-in pricing, and takes important steps to combat speculative tickets and deceptive websites.”
“The live entertainment ecosystem is counting on Congress to act in the best interests of fans to restore transparency and trust to our country’s broken ticketing system.”
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The reigning #1 Trance DJ in Asia, Rinaly, has teamed up with the legendary vocalist Julie Thompson to deliver a breathtaking progressive trance anthem, ‘Running.’ This highly anticipated track is out now via Black Hole Recordings, and it’s an instant must-hear for any trance fan.
‘Running’ wastes no time in captivating listeners. It explodes with a pulsating, techno-inspired rhythm, laying down a hypnotic and relentlessly driving beat that immediately commands attention. Just as you’re locked into the groove, the track seamlessly unfolds into a lush and atmospheric soundscape, providing the perfect canvas for Julie Thompson’s iconic, ethereal vocals to shine. Her unmistakable voice, both powerful and hauntingly beautiful, takes center stage, weaving a captivating melody above the track’s insistent bassline. As her echoing vocals rise and soar, the energy builds, culminating in a truly euphoric progressive trance drop.
Hailing from Japan, Rinaly is an internationally acclaimed DJ with over a decade of experience captivating audiences worldwide. Renowned for her exceptional versatility, she seamlessly blends multiple genres to deliver electrifying performances tailored to any setting. Whether commanding the main stage at world-class music festivals or creating an unforgettable atmosphere at exclusive corporate events, Rinaly consistently demonstrates her professionalism, artistry, and ability to connect with diverse audiences. Her dynamic energy and refined musical expertise make her a sought-after performer on the global stage.
Career highlights include sets at the Electric Daisy Carnival in Japan, Mexico, and China, Dreamstate and Beyond Wonderland in the USA, Ultra Japan, Lanna Sky Festival in Thailand, AVA Night in Jakarta and Zurich, and the In Trance We Trust ADE Festival. This is on top of Transmission Tours and sets worldwide in Australasia, Europe, and every corner of Asia, and some of the world’s greatest nightspots.
Currently experimenting with tech-inspired sounds, her productions can be heard in DJ sets worldwide and on labels such as Coldharbour Recordings, Perfecto, FSOE, AVA White, Nocturnal Knights, and Uplift. This includes 4 Beatport Top 10s, including a number 1 with ‘Wave of Affection’ and 56th Top 100 chart for all genres. Her music is supported by Armin van Buuren, Aly & Fila, Paul van Dyk, Andrew Rayel, Markus Schulz, Alex M.O.R.P.H., and numerous other artists.
The post Rinaly & Julie Thompson Join Forces for Uplifting Progressive Trance Anthem ‘Running’ appeared first on EDMTunes.
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Universal Music Group CEO Lucian Grainge. Photo Credit: UMG
Is the streaming plateau over? A growth-minded Universal Music Group (UMG) generated $3.30 billion/€2.90 billion during 2025’s first quarter, when subscription revenue grew by 11.5% year over year.
That’s according to the major label’s just-released Q1 earnings breakdown, which points to roughly $2.55 billion/€2.24 billion (up 12.7% YoY) in recorded revenue for the three-month stretch. As usual, the lion’s share of the sum ($1.83 billion/€1.61 billion, up 9.5% YoY) resulted from streaming.
Within that €1.61 billion tranche, ad-supported contributed $402.15 million/€353 million (up 2.9% YoY), compared to $1.42 billion/€1.25 billion for the aforementioned subscription category, UMG relayed.
Against the backdrop of streaming price increases, long-running freemium-monetization woes, and the company’s aggressive acquisitions approach, the figures don’t exactly come as a surprise.
More interestingly, given UMG’s “artist-centric” obsession, the Modern Sky partner acknowledged “double-digit revenue growth from four of our major DSP partners” for the first quarter. (Here, “major” refers to the top 10; chief digital officer Michael Nash elaborated that UMG also enjoyed double-digit Q1 revenue jumps with three of its top-five DSP partners.)
Meanwhile, the A-Sketch owner identified double-digit subscription-revenue spikes in Japan, Germany, China, and Mexico on the quarter.
Each of those nations has found its way into UMG’s top-10 markets by subscription revenue, execs emphasized. Among other things, that raises questions about the precise revenue-growth trajectory of several emerging music sectors. But this discussion is best left for another time.
Rounding out the recorded side, where fitness revenue was “stable,” Universal Music attributed $45.56 million/€40 million (down 13% YoY) in revenue to permanent downloads, $341.77 million/€300 million (up 17.6% YoY) to the sale of vinyl as well as other physical formats, and $337.19 million/€296 million (up 33.3 % YoY) to licensing.
A sync boost and “strong live income in certain markets” fueled the licensing surge, per UMG, which touted as the quarter’s top sellers Kendrick Lamar, Sabrina Carpenter, Lady Gaga, The Weeknd, and Mrs. Green Apple.
(The live-income hike didn’t translate into bolstered merch sales, which came in at $127.56 million/€112 million, down 1.8% YoY, during the quarter.)
Shifting to publishing, the company disclosed revenue of $632.22 million/€555 million (up 11.9% YoY). Every sub-category save performance (which was flat YoY at $129.84 million/€114 million) and digital ($386.11 million/€339 million total, up 19.4% YoY) achieved modest growth.
Overall, UMG posted an 11.8% YoY improvement to adjusted EBITDA ($752.78 million/€661 million) for Q1 2025. During today’s trading, Universal Music stock (UMG on the Euronext Amsterdam) saw its value fall slightly to $28.48/€25.01 per share.
Elsewhere in the earnings report and the corresponding call, UMG didn’t divulge too many significant details. But higher-ups did reiterate plans for another round of “strategic organizational redesign” efforts this year – referring to cuts totaling $142.26 million/€125 million.
Lastly, Universal Music execs opted to focus on Spotify’s positive comments about a Super-Premium tier – not the streaming service’s newfound indifference to the offering.
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Day Trip and Insomniac Records have shared the full lineup for their 2025 Day Trip In The Park summer party series.
The brand’s flagship seasonal run will bring Sunday afternoon house music havens back to LA State Historic Park on the Promenade from May to September, featuring a red-hot performance roster of some of the genre’s best selectors.
Day Trip In The Park’s grand opening party kicks off during Labor Day weekend on May 25, with sets from two of Australia’s top house exports, Sonny Fodera and Torren Foot, followed by a takeover from Ranger Trucco’s range. label on June 1, where he’ll be joined by rising London star Luke Dean and Miami veteran Ms. Mada.
The following week, Day Trip will host a live set from Oden & Fatzo, along with DJ sets from fellow groovers Kyle Walker and Ruze on June 8. SIDEPIECE and Jackie Hollander come to town on June 15; before house East Coast house pioneer Kerri Chandler helms a Kaoz Theory label takeover with surging UK trio Mason Collective and Fabric London resident Jaden Thompson on June 29.
Day Trip In the Park’s 2025 bill stays hot all through July, with sets from Latin house stalwarts San Pacho and Andruss, award-winning British future house artists D.O.D. and Aluna, and a trio of next-gen selectors, including LA’s own AYYBO, and international risers Discip and Omri. 
Finally, after a curated show from AMÉMÉ’s One Tribe imprint on August 17, minimal tech is on full display from UK favorite East End Dubs and Dublin duo OBSKÜR on September 7, while legendary producers MK and Martin Ikin will be on hand for Day Trip In The Park’s season finale on September 15. Check out the full lineup below.
All of Day Trip’s summer parties take place from 2PM to 8:30PM at 1279 N. Spring St., Los Angeles. For more information or to purchase tickets, visit daytrip.la.

Featured image courtesy Day Trip. Credit: Troy Avecedo.
The post Day Trip & Insomniac Records Drop Hot House Roster For Day Trip In The Park 2025 appeared first on EDM Maniac.
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Spotify has recorded even more growth across the first quarter of the year, with its highest subscriber net adds since 2020.
The platform has shared its latest Q1 report, revealing a record high operating income (its profit after deducting operating expenses), which rose to €509 million across the quarter, and a premium subscriber count of 268 million – an increase of 12 per cent year over year, marking the the second-highest Q1 in Spotify’s history. Monthly active users reached 678 million (up by 10 per cent Y/Y), and total revenue was also up by 15 per cent to €4.2 billion.
READ MORE: Best Spotify alternatives in 2025 for music listening and discovery Looking to the second quarter of 2025, Spotify predicts that its total number of monthly active users will rise to 689 million and its total of premium subscribers will reach 273 million –  thats approximately five million net new subscribers in the quarter. It also forecasts that total revenue will reach €4.3 billion, though it does specify that these results are subject to substantial uncertainty.
Spotify CEO, Daniel Ek, comments, “The underlying data at the moment is very healthy: engagement remains high, retention is strong, and thanks to our freemium model, people have the flexibility to stay with us even when things feel more uncertain. So yes, the short term may bring some noise, but we remain confident in the long-term story, and the direction we’re heading in feels clearer than ever.”
Back in March, Spotify released its Loud & Clear annual royalty report for 2024. It revealed that it was the highest paying retailer globally in 2024, paying the music industry over $10 billion in total. It said this was the largest payout in music industry history, and was over 10x the contribution of the largest record store at the height of the CD era.
Amid ongoing criticism of its royalty model, it also released a video on how the money flows from its platform to artists, which you can watch below:

You can read the full report on Spotify’s Q1 earnings via its official newsroom.
The post Spotify records its highest subscriber net adds since 2020 in first quarter of 2025 appeared first on MusicTech.
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After a six-year gap between full-length releases, Kai Wachi has announced his sophomore album, NEKROSIS.
Details are scarce at this time, but the album's title suggests a continued exploration of the dark, transformative themes that have defined Wachi's artistic trajectory. Known for his fusion of bone-rattling bass, Wachi has built a devoted following through his distinctive sound, which balances aggression and haunting melodic elements with lyrical themes like internal struggle and transcendence.
Scheduled for release on June 13th via Black Tiger Sex Machine's Kannibalen Records, it's the dubstep and bass music star's first album since 2019's debut DEMIGOD LP. From mythology to pathology, DEMIGOD examined the elevation of mortal to mythic stature while its successor appears to reference cellular death, perhaps symbolizing a shedding of old identities or a creative rebirth.
Wachi has released two singles so far in 2025, channeling his trap roots for "Drown" before teaming up with Aaron Richards for "Hold Onto Me," a soaring melodic bass track. Both will appear on NEKROSIS alongside collaborations with Point North, Trella and Julienne By, among others.
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Follow Kai Wachi:
X: x.com/KaiWachimusic
Instagram: instagram.com/kaiwachiofficial
TikTok: tiktok.com/@kaiwachiofficial
Facebook: facebook.com/kaiwachi.official
Spotify: spoti.fi/30mPZD2
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Photo Credit: Dylan Mullins
The House has passed the TICKET Act with a bipartisan vote of 409-15. Now the bill heads to the Senate to await a final vote before making it to the President’s desk.
The Transparency in Charges for Key Events Ticketing (TICKET) Act has passed in the House of Representatives by a bipartisan vote of 409-15.
The bill, which has near-universal support from both parties, would ensure a fair, dynamic, and transparent ticket market for fans across the United States. It has also seen overwhelming support from consumer protection organizations, trade associations, and industry groups.
“The House has once again made clear: consumers deserve transparency and fairness when buying event tickets,” said John Breyault, Vice President of Public Policy, Telecommunications and Fraud at the National Consumers League.
“This legislation puts an end to hidden fees and deceptive resale practices that have cheated fans for too long. With the House having acted, the Senate must now move swiftly to pass the TICKET Act and send it to the President’s desk. With so many live events coming this summer, consumers can’t afford more delays.”
“With another overwhelming bipartisan vote, the House of Representatives has reaffirmed what consumer advocates, artists, venues, and industry leaders all agree on: it’s time for transparency in ticketing,” said Brian Hess, Executive Director of Sports Fans Coalition. “We thank Chair Guthrie, Ranking Member Pallone, Chair Bilirakis, and Ranking Member Schakowsky for their tireless advocacy on behalf of fans.”
“The TICKET Act delivers all-in pricing and comprehensive protections against deceptive practices that have plagued the ticket resale market for too long. We urge the Senate to pass the TICKET Act without delay. Together, we can build a marketplace that works for fans.”
Earlier this year, the TICKET Act passed the Senate Committee on Commerce, Science, & Transportation.
The TICKET Act promises the following:
Illegalizing hidden ticket fees: mandating all-in, upfront pricing, so the first price you see is the last number you see, plus tax; providing fans a full refund to a cancelled event, or a comparable replacement ticket if the event is postponed.
Cracking down on misleading websites and deceptive URLs: ticket websites cannot claim to be “official” sellers or resellers unless they actually are; prohibiting sellers or resellers from using the names of venues, teams, artists, and events in their online domain names.
Banning deceptive “speculative” ticketing: sellers can only offer tickets they have in possession or offer ticket procurement shopping services; requiring clarity and a distinction between tickets for sale and ticket procurement services.
Maintaining the ability for fans to purchase through ticket procurement services, but requiring ticket sellers to ensure clear and conspicuous disclosures and a distinction between in-possession tickets and pay-now-procure-later shopping services.
Assessing the use of illegal software bots: requiring the FTC to study the 2016-enacted BOTS Act, its enforcement to date, and help identify the challenges with its enforcement.
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Belift Lab act Enhypen, which is helping drive concerts revenue growth at Hybe. Photo Credit: Ten Asia
Thanks in large part to a substantial jump on the concerts side, Hybe has reported record Q1 2025 revenue of ₩500.61 billion (currently $349.36 million).
The professional home of BTS shed light on its first-quarter showing today, with the mentioned revenue representing a close to 39% increase from the same period in 2024. As Hybe acts released relatively few albums during Q1, however, recorded revenue fell 5.9% YoY to $95.27 million (₩136.52 billion), the Quality Control parent indicated.
In part because of the less populated release schedule (and K-pop’s ultra-strong physical sales), streaming accounted for “nearly half” the recorded sum in the first quarter, Hybe relayed.
And when it comes to live performances, the Belift Lab owner confirmed $108.28 million/₩155.15 billion (up 252.3% YoY) in concerts revenue for Q1 2025. Explaining the hike, Hybe emphasized the ticket sales behind tours from Enhypen and especially J-Hope, besides a continued prioritization of superfan passes offering artist meetings and more.
At the intersection of superfan initiatives and concerts, Hybe also generated a whopping $74.25 million/₩106.40 billion from merch and licensing on the quarter, up 75.2% YoY.
Meanwhile, the Weverse operator attributed $21.26 million/₩30.46 billion (up 39% YoY) to the fan club category. MAUs on Weverse (which added a “Listening Party” feature last month) were up a bit at 10 million, but average revenue per paid user slipped from Q1 2024, the report shows.
Rounding out the company’s Q1 revenue, ads and appearances kicked in $21.53 million/₩30.85 billion (up 10.9% YoY), against $28.77 million/₩41.23 billion (down 32.7% YoY) for “contents” including DVDs, per the document.
All told, then, Hybe identified Q1 2025 net profit of $38.59 million/₩55.30 billion, reflecting a YoY spike of 398.3%. When trading wrapped today, Hybe stock (KRX: 352820) was worth an even $176.55/₩253,000 per share, up 1.8% on the day and almost 29% from 2025’s beginning.
During the corresponding earnings call, Hybe touched on plans to debut new talent later in 2025 – including Japan-based Aoen (set to officially set sail in June) and a Big Hit group that will arrive in the third quarter. Additionally, execs reiterated a multifaceted long-term expansion strategy in Latin America.
Lastly, BTS’ reunion is also on the horizon for Hybe, which didn’t appear to address the ongoing NewJeans contract dispute during the call.
Earlier in April, Hybe’s gaming subsidiary scored a $20.5 million raise, and Scooter Braun-led Hybe America inked a distribution pact with Jermaine Dupri’s So So Def Recordings.
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It’s an exciting early week as we celebrate the release of Sultan + Shepard’s highly anticipated Communicate EP. This talented duo has been keeping fans on their toes all April with a series of weekly track releases, making this a truly thrilling month for music lovers. Today marks the full release of the EP on This Never Happened, showcasing two captivating new tracks: ‘Sigh’ and the powerful title track ‘Communicate’. Enjoy the musical journey this EP takes you on.
‘Communicate’ and ‘Sigh’
Can you recall the electrifying moment when Sultan + Shepard, alongside Lane 8, unleashed the tracks ‘Communicate’ and ‘Sigh’ at the Proper NYD 2025 B2B set? These two tracks, which conclude the remarkable Communicate EP, were the first completed and shared with an eager live audience. They not only symbolize Sultan + Shepard’s triumphant return to their club roots but also seamlessly carry forward the captivating tone set by the other tracks. The title track ‘Communicate’ The title track, “Communicate,” grabs your attention from the very first note. With its pulsating basslines and dynamic progression, this track is intricately crafted, showcasing sophisticated synth work and rhythmic complexity that make it an undeniable dancefloor anthem. Its relentless energy invites listeners to lose themselves in the music, creating a powerful contrast with the more introspective journey of ‘Sigh’.
In contrast, ‘Sigh’ offers a deeply emotive experience that highlights Sultan + Shepard’s signature sound. This track skillfully layers atmospheric elements over a driving rhythm, resonating with listeners on multiple levels. Its meticulously crafted structure allows for a gradual build-up. It ultimately leads to a euphoric climax that is both uplifting and thought-provoking. Together, these tracks not only elevate the dance music experience but also define a moment in time for fans.
Communicate EP
Sultan + Shepard’s Communicate EP is an extraordinary fusion of progressive house energy and profound emotional resonance. Over the past weeks, we immersed ourselves in each track, uncovering layers of artistry. ‘Mio’ and ‘Mainline’ engulf us with their rich instrumental depth and expertly crafted progressive builds. ‘Postcards’ and ‘All Access’ take listeners on an introspective, atmospheric journey that lingers in the mind. Moreover, ‘Before The Storm’ a stunning collaboration with Rinzen, introduces a darker, cinematic edge that elevates the entire collection. This EP marks the duo’s return to the art of instrumental storytelling. It also showcases their mastery in exploring a wide array of textures within the melodic spectrum.
Prepare to be moved by this exceptional release! Stay connected with EDMTunes for the latest in music updates and insights.
The post Sultan + Shepard Release Beautiful Communicate EP appeared first on EDMTunes.
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Photo Credit: Google
Spotify stock (SPOT) shares fell by roughly 8% after the company reported its Q1 2025 MAU and subscriber gains, showing the Q2 slowdown in action. So what’s going on?
Spotify reported disappointing user and financial guidance for Q2 after showing the second-highest Q1 subscriber net addition in the streaming giant’s history. The company’s stock (SPOT) fell as much as 8% in early pre-market trading on Tuesday (April 29), and down roughly 6% around an hour before the market opened.
The company’s second quarter monthly active users (MAU) are estimated at about 689 million, down from the roughly 694 million expected by analysts. Similarly, Q2 guidance for operating income and gross margins fell short of expectations.
In Q1, MAUs rose by 10% year-over-year to 678 million, slightly below the estimate of 679 million. Premium subscribers rose by 12% from the year prior to 268 million, leading to the second-highest subscriber net addition Spotify has seen.
“The underlying data at the moment is very healthy: engagement remains high, retention is strong, and thanks to our freemium model, people have the flexibility to stay with us even when things feel more uncertain,” said Spotify CEO Daniel Ek in the company’s earnings release. “The short term may bring some noise, but we remain confident in the long-term story, and the direction we’re heading in feels clearer than ever.”
SPOT closed at around $577 on Tuesday, down almost 4%, a slight improvement over its pre-market trading.
Wall Street analysts say the music streaming platform, alongside fellow streaming giant Netflix, serves as a defensive play amid ongoing macroeconomic uncertainty in the tech sector.
“It is our view that SPOT’s subscription model should be more defensive/utility-like amid the current macro uncertainty,” said Bank of America analyst Jessica Reif Ehrlich.
Spotify’s stock surged to all-time highs of around $652 in February and still climbed roughly 106% over the past year. That’s in stark contrast to the record lows the company faced in 2022.
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Rising electronic music producer and composer Edalo celebrates another milestone with the release of his brand new deep house instrumental single, ‘Turn Up!’, which has skyrocketed to #9 on the iTunes Top 100 Dance Music Chart. Released through Creativ Music Group and distributed via The Orchard/Sony Music, ‘Turn Up!’ is already making waves among deep house enthusiasts worldwide.
Stream it here: https://orcd.co/streamturnup
A Hypnotic Sonic Journey
‘Turn Up!’ invites listeners into a rich, hypnotic soundscape, blending intricate basslines, lush atmospheric pads, and melodic synths into a seamless, immersive experience. Produced solo by Edalo, the track reflects an emotional and physical journey designed to move both body and soul.
“‘Turn Up!’ is about the feeling of being overwhelmed but also breaking down barriers by the energy of life,” Edalo explains. “I wanted to capture that push and pull in the music — the contrast between chaos and beauty. The driving bassline represents the relentless pace, while the melodic synths evoke the moments of wonder and discovery.”
Career Highlights
Edalo has steadily built an impressive career since 2012, collaborating early on with industry legends including Robby Takac (Goo Goo Dolls), Kenny Hawkins (Rick James, Snoop Dogg, Mary J. Blige), and Jerry Livingston (Rick James) on the song ‘Mariposa’.
In 2015, he was enlisted by the estate of Ray Charles to co-create a tribute album with Charles’ grandson RobTwyce, resulting in the single ‘You’, released via All Access Music Group. The same year, his debut album ‘Faith’ earned placement on the iTunes Top Instrumental Albums Chart.
Edalo followed up with the independently produced ‘California Rush’ (2017), debuting it at SXSW Music Festival, performing alongside names like Kent Jones, ROZES, and Malik Yusef (G.O.O.D. Music).
His 2020 release ‘Driftin’ marked his first headlining tour, followed by a 10-city East Coast tour in 2021.
In 2023, Edalo topped the iTunes charts with his #1 single ‘Mirage’, had his music video ‘Never Enough’ aired on MTV, and featured prominently on billboards in Times Square, Queens, and Buffalo.
A Deep House Powerhouse
‘Turn Up!’ is the latest example of Edalo’s ability to fuse emotional storytelling with club-ready production. His unique style continues to position him as one of the most exciting and versatile talents emerging from the American deep house scene.
‘Turn Up!’ is now available on all major streaming platforms.
Follow Edalo:
Instagram: https://www.instagram.com/edalomusic/
Facebook: https://www.facebook.com/marineae01 
YouTube: https://www.youtube.com/@EdaloMusic
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Photo Credit: Fortune Live Media / CC by 2.0
During Spotify’s recent Q1 2025 earnings call, CEO Daniel Ek spun word salad for investors who were curious when the ‘super-premium’ tier targeting superfans would arrive. Spotify has been teasing an upgraded Spotify tier for nearly five years now—yet it has not materialized.
Spotify now has 678 million monthly active users, adding five million net subscribers for 12% year-over-year growth, reaching 268 million paying customers. Despite that ‘record subscriber growth’ Daniel Ek didn’t have much to say in the way of when investors can expect the new super-premium tier to drop. That reticence to launch seems due to a variety of factors, from licensing complexities, competitive landscape shifts, and feature development challenges.
A recent survey suggests only 45% of Spotify users would be interested in a higher-priced tier, meaning Spotify needs to add value for the tier to be attractive to users. The company may also have delayed the launch due to macroeconomic conditions, which have seen consumers tighten their belts where extraneous subscriptions are concerned. Nevertheless, when asked directly about the new tier, Daniel Ek spun a giant word salad.
Investor Michael Morris asked: “Daniel, in February you referenced your excitement for a superfan product that you had been using. Can you share more details about what makes you enthusiastic about the product and when it may be available in the market?”
Alex Nordstrom, Co-President & Chief Business Officer at Spotify, jumped in to answer before Daniel Ek could take the lead. “With regards to higher tiers, we see great potential in them as we’ve mentioned before. So creating higher tiers around new offerings is something we are working towards as it really opens up new opportunities to delight users. And of course we need alignment and support from our industry partners to offer these kinds of new experiences to our users. I think it’s also worth noting that we will continue to look for new ways to invest in our premium offering as we have done all along.”
Daniel Ek jumps in at this point, stating “If you sort of look at the overall picture, Spotify is now a quite sizable business, but also a sizable platform. And typically, what’s interesting is that we’ve kind of gotten here pretty much with just the same freemium model that we launched and started working on now 19 years ago.”
“And so what naturally happens as the market evolves is that you typically end up segmenting the market, and that’s always been a very good business strategy—we’re just in the early innings of doing that here.”
“So I think you should expect for the near term and midterm growth when it comes to Spotify, just working on our existing subscriptions, the family plans, all of these things is plenty enough for us. It’s going to be really great.”
“But for the very, very long-term, it is an upside opportunity for Spotify, but I think one where, if I look at it from a music industry standpoint, this is, this is a huge part of the music industry. But for the near term, the way to think about it for Spotify is we’re not dependent on that for growth, but we want to make it happen.” So this is really one where I would put, again, the emphasis is for the superfan, we do need the partners to come to the table and be a part of this journey.”
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Photo Credit: McDonald’s
After a report that tickets to Beyoncé’s Cowboy Carter tour cost “less than a McDonald’s Happy Meal,” fans took to social media to debunk that claim.
Last week, ahead of Beyoncé’s Cowboy Carter tour kicking off in Los Angeles, the lack of interest in tickets saw some uncharacteristically low prices—leading to plenty of roasting online. One user claimed they found resale tickets available for just $20, calling it “less than a McDonald’s Happy Meal.”
If you think that sounds strange, you’re not alone. It’s important to note the Happy Meal used as a comparison was the limited edition McDonald’s “Minecraft” meal for the film of the same name. That meal, designed as one of the fast food franchise’s “adult Happy Meals,” which includes more food than a kids’ meal.
But even that meal varied in price depending on the region, leading to even more confusion among music fans seeing that comparison. That was further compounded by most tickets for Cowboy Carter not dropping as low as $20—very few tickets on the resale market have gone for such prices, and they’re quickly snapped up. And those that do sell for that cheap are resale tickets, meaning the star already made her money from the initial sale.
Regardless, loyal fans of Queen Bey have pushed back against the narrative that the artist is in any way struggling. “Wait till the tour starts, once those clips start dropping, people will be flocking to get tickets,” one fan argued. Another pointed out the absurd comparison: “Where the f— are you guys getting a McDonald’s Minecraft meal for $21? At mine it’s like $14.”
While the naysayers insist that “nobody cares about the cowgirl version of Beyoncé,” the album’s success has shown otherwise. Cowboy Carter topped the Billboard 200 chart, while its lead single, “Texas Hold ‘Em,” hit No. 1 on both the Billboard Hot 100 and the Country chart. The album also earned her the Grammy for Album of the Year—her first in a sea of Grammy awards.
“This ain’t a country album,” the star said previously. “This is a Beyoncé album.”
The Cowboy Carter tour kicked off Monday night at SoFi Stadium with five shows lined up throughout the week. Afterward, the show heads to Chicago, New York, Houston, Las Vegas, London, Paris, and more.
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Photo Credit: Daniel Kelly
Wiz Khalifa and Sean Paul have announced their 2025 co-headlining tour ‘Good Vibes Only’ headed across North America this summer—featuring special guest DaBaby.
Produced by Live Nation, the 15-date amphitheater run kicks off on July 6 in New York and includes additional stops across New Jersey, Ontario, Illinois, and Michigan before wrapping in Georgia. The run also includes a hometown performance for Wiz Khalifa in Burgettstown, PA. The tour announcement arrives after Wiz Khalifa’s most recent album Kush + Orange Juice 2, his eighth studio album. It’s the follow-up to his 2010 breakout mixtape Kush & Orange Juice.
The new album features production from Kush & Orange Juice producers Cardo, ID Labs, and Sledgren, as well as producers Mike WiLL Made-It, Juicy J, Jason Martin, Dominique Sanders, DJ Quik, Crazy Mike, TM88, Crash Dummy, Lex Luger, DJ Fresh, and Kenneth Wright. Featured collaborations on the album include OT Genasis, Ty Dolla $ign, Jason Martin, Luh Tyler, Michael Prince, LaRussell, Terrace Martin, Curren$y, Max B, Juicy J, DJ Quik, Larry June, Chevy Woods, rmr, Don Toliver, and Smoke DZA.
The Good Vibes Only Tour comes on the heels of Sean Paul’s 2025 UK arena tour with Ashanti, which is wrapping up in April. It also follows Sean Paul’s Greatest Tour, which saw over 20 performances across the United States in 2024.
Tickets will be available starting with a Citi and artist pre-sale on April 30 at 10 am local time. Additional pre-sales will run throughout the week ahead of general on-sale beginning May 2 at 10 am local time.
Wiz Khalifa & Sean Paul’s ‘Good Vibes Only’ Tour Dates — 2025
July
06 | Darien Lake Amphitheater — Darien Center, NY 08 | Xfinity Center — Mansfield, MA 09 | Northwell at Jones Beach Theater — Wantagh, NY 10 | Freedom Mortgage Pavilion — Camden, NJ 12 | Riverbend Music Center — Cincinnati, OH 13 | Ruoff Music Center — Noblesville, IN 15 | Blossom Music Center — Cuyhoga Falls, OH 18 | Budweiser Stage — Toronto, ON 19 | The Pavilion at Star Lake — Burgettstown, PA 21 | Hollywood Casino Amphitheater — St. Louis, MO 22 | Credit Union 1 Amphitheatre — Tinley Park, IL 23 | Pine Knob Music — Clarkston, MI View the full article
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The City of Indio has issued a $20,000 fine to Goldenvoice, the organizer behind the iconic Coachella Valley Music and Arts Festival, after Travis Scott’s performance during Weekend 1 ran past the city’s enforced curfew.
According to the longstanding 2013 city permit that governs the festival’s operations, all performances must end by 1:00 AM on Fridays and Saturdays, and by midnight on Sundays. For every breach of this regulation, Goldenvoice is fined $20,000, with an additional $1,000 levied for each minute that a performance extends beyond the sixth minute past curfew.
The incident occurred on Saturday, April 12, when Travis Scott—headlining both Saturdays of the festival—took the stage late and ended his set around 1:03 AM. While the second Saturday’s performance managed to conclude on time, the first weekend’s minor delay was enough to trigger the penalty.
Interestingly, a source speaking to TMZ cited an earlier issue involving Green Day’s set running 15 minutes behind due to a fireworks mishap, which reportedly caused a tree to catch fire. This delay allegedly pushed Scott’s start time back by approximately five minutes.
Despite this hiccup, the City of Indio confirmed that this was the only curfew violation across all three weekends of Goldenvoice’s spring festival lineup, which includes both Coachella and the Stagecoach country music festival. That makes 2024 a notably tame year for infractions—especially compared to previous editions.
Last year, Coachella Weekend 1 saw a staggering $117,000 in fines after headline acts like Bad Bunny, Frank Ocean, and Calvin Harris exceeded their set times. Weekend 2 added another $51,000 to that total, with performances by Bad Bunny, Skrillex, Fred Again, and Four Tet running long. And even in 2024, Lana Del Rey‘s set during Weekend 2 earned the festival a $28,000 penalty after going 13 minutes over.
These recurring violations highlight the ongoing tension between the high-energy, unpredictable nature of live music events and the strict curfews enforced by local municipalities. While the fines are a drop in the bucket for an operation of Coachella’s scale, they serve as a reminder of the delicate logistics involved in staging one of the world’s most influential music festivals.
For now, Travis Scott’s brief overage stands as Coachella 2024’s lone curfew blip—one that underscores the challenges of timing in a festival that celebrates spontaneity and star power.
The post Coachella Fined $20,000 After Travis Scott’s Set Runs Over appeared first on EDMTunes.
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Mallorca Live Festival is back for its eighth edition, taking place June 12–14 in Calvià. The Balearic Islands’ largest music event features a stellar lineup including international acts like Massive Attack, Iggy Pop, Suede, and many more.
The full lineup and festival highlights were unveiled at a press conference in Madrid. Among the announcements was the La Plaza Electronic stage – a dedicated space designed to foster the dance music community and spotlight cutting-edge DJs and producers from around the world, with sounds ranging from house to techno. Headliners include Nicola Cruz, Chloé Caillet, Carlita, TSHA and others.
Tickets for the eighth edition of Mallorca Live are on sale now and can be purchased on their website.
Featured image: Xavi Torrent
The post Mallorca Live Festival announces final lineup for 2025 edition featuring Chloé Caillet, Massive Attack, Iggy Pop and more appeared first on Dancing Astronaut.
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Try not to spill your Slurpee in the mosh pit—7-Eleven is the new presenting sponsor of Las Vegas emo festival When We Were Young.
The global convenience store chain announced yesterday that it has teamed up with festival promoter Live Nation to purchase the official naming rights for this year’s weekend event, which returns to the Las Vegas Festival Grounds on October 18-19. The deal will also see 7-Eleven bring on-site experiences to New York City’s Governors Ball and California’s Rolling Loud.
The partnership marks the first time When We Were Young festival has taken on a naming rights sponsor. In a press release, 7-Eleven outlined its plans to lean into nostalgic themes with its branded pop-ups at the rock event, including a 7-Eleven “Hangout” where fans can sip on Slurpees in an environment dedicated to the festival’s “early 2000s emo energy.”
When Governor’s Ball brings charting multi-genre acts back to Flushing Meadows this June, 7-Eleven says it will pay homage to a summer block party in the Big Apple with “Slurpee Street,” featuring city lights and a stoop to relax with friends, while its activation at Rolling Loud, SoCal’s world-renowned hip-hop festival, in 2026 will remake “Slurpee Street” to embrace the genre’s “dynamic street art culture,” according to a press release.
When We Were Young is back in Las Vegas this fall with performances from Panic! At The Disco, blink-182, Weezer, Avril Lavigne, The Offspring, and many more. For more information or to purchase tickets, visit whenwewereyoungfestival.com.
Learn more about When We Were Young’s 7-Eleven collaboration on the festival’s official Instagram page.

Featured image courtesy: 7-Eleven.
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Try not to spill your Slurpee in the mosh pit—7-Eleven is the new presenting sponsor of Las Vegas emo festival When We Were Young.
The global convenience store chain announced yesterday that it has teamed up with festival promoter Live Nation to purchase the official naming rights for this year’s weekend event, which returns to the Las Vegas Festival Grounds on October 18-19. The deal will also see 7-Eleven bring on-site experiences to New York City’s Governors Ball and California’s Rolling Loud.
The partnership marks the first time When We Were Young festival has taken on a naming rights sponsor. In a press release, 7-Eleven outlined its plans to lean into nostalgic themes with its branded pop-ups at the rock event, including a 7-Eleven “Hangout” where fans can sip on Slurpees in an environment dedicated to the festival’s “early 2000s emo energy.”
When Governor’s Ball brings charting multi-genre acts back to Flushing Meadows this June, 7-Eleven says it will pay homage to a summer block party in the Big Apple with “Slurpee Street,” featuring city lights and a stoop to relax with friends, while its activation at Rolling Loud, SoCal’s world-renowned hip-hop festival, in 2026 will remake “Slurpee Street” to embrace the genre’s “dynamic street art culture,” according to a press release.
When We Were Young is back in Las Vegas this fall with performances from Panic! At The Disco, blink-182, Weezer, Avril Lavigne, The Offspring, and many more. For more information or to purchase tickets, visit whenwewereyoungfestival.com.
Learn more about When We Were Young’s 7-Eleven collaboration on the festival’s official Instagram page.

Featured image courtesy: 7-Eleven.
The post 7-Eleven Becomes First-Ever Naming Sponsor For Las Vegas’ When We Were Young Festival appeared first on EDM Maniac.
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Photo Credit: Parkwood Entertainment
Thousands of tickets remain available for Beyoncé’s Cowboy Carter opening run at Los Angeles’ SoFi Stadium this week.
Beyoncé’s Cowboy Carter tour kicked off last night in Los Angeles, with thousands of tickets unsold. Meanwhile, resale prices have reportedly dipped below $25. Considering the album for which the tour is named earned Queen Bey Album of the Year at the Grammys, something just isn’t adding up.
But if fans thought the show would only include tracks from Bey’s country-themed album, they would be greatly mistaken. The nearly three-hour show kicked off with nearly every song from Cowboy Carter before launching into hits across her sizable catalog. And yes, that includes Renaissance.
After renditions of “Ameriican Requiem,” the Beatles’ “Blackbird,” “Ya Ya,” and nearly every other track from Cowboy Carter, the superstar announced, “Welcome back to the Renaissance, y’all.” It was then she launched into “I’m That Girl,” “Cozy,” and “Alien Superstar,” plus a western rendition of the “ballroom battle” her backup dancers engaged in every night on the Renaissance tour. The show featured tons of references and easter eggs for die-hard Beyoncé fans to spot.
Since Beyoncé only just wrapped up her career-spanning Renaissance tour in 2023, fans who expected the Cowboy Carter tour to include just songs from her latest album might have opted to skip it. And perhaps doubly so, given economic uncertainty, leading to many fans maybe not having the funds to attend a major concert in 2025.
Of course, Beyoncé’s been on the receiving end of a fair amount of criticism since releasing her foray into country music—despite winning her first Album of the Year Grammy for it. But that shouldn’t impact her fans’ decision to go see their idol; if anything, the realization that she’s using the Cowboy Carter tour as a way to expand her record-breaking Renaissance tour into a second act should be enticing.
Monday night saw the first of five shows at Inglewood’s SoFi Stadium, before she heads to Chicago and New Jersey. Whether clips of the show and news of the inclusion of her other career-spanning hits will lead to an increase in ticket sales remains to be seen.
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Chris Lake is headlining Red Rocks for the first time ever.
The UK tech house icon just announced on social media that he’ll bring his high-energy beats to Morrison, Colorado’s world-famous open-air amphitheatre on August 30, marking his debut headline at the venue after more than two decades of touring and influential releases.
Lake will be joined on the night by three of his leading collaborators and Black Book Records label talents, including his Anti Up partner-in-crime Chris Lorenzo, renowned multi-hyphenate house artist and Lake’s longtime colleague Aluna, and surging Black Book signee Marco Strous. Check out the official poster below.
The milestone show announcement comes just weeks after Lake revealed that his debut full-length studio album, Chemistry, will arrive on his own independent imprint on July 11. The album’s lead single, “In My Head,” with singer-songwriter Amber Mark, arrived alongside the LP announcement on April 10.
Pre-sale registration for Chris Lake’s Black Book Records is now open here. Pre-sale ticket access will begin next Wednesday, May 7 at 10 AM MT. General on-sale will follow on Thursday, May 8, at 10AM MT.
For more information or to purchase tickets, visit redrocksonline.com.

Featured image courtesy: Chris Lake.
The post Chris Lake Announces First-Ever Red Rocks Headline appeared first on EDM Maniac.
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Coachella‘s 2025 iteration was yet another reminder of why the Indio-based festival remains the gold standard for live music experiences. This year’s edition continued Coachella’s further lean into dance music culture while continuing to maintain its diverse, genre-spanning lineup. While some changes sparked debate — most notably, the relocation of the Quasar and Do LaB stages — it was ultimately the electronic acts who stole the spotlight and left lasting impressions across both April weekends.
The Quasar stage — which debuted last year as a home for extended DJ sets — was moved to the Do LaB stage’s previous resting spot. The Red Bull Mirage — an upscale experience nestled within the Quasar area — was a standout addition. Featuring Nobu catering, an open bar, and plush VIP table setups, the Red Bull Mirage elevated the typical festival experience, offering attendees an exclusive and comfortable way to enjoy the sets before them. And those sets included the likes of Alesso (Body Hi) back-to-back Gorgon City and Kaskade (Redux) back-to-back Idris Elba, both of which drew the largest crowds for the stages and delivered relentless energy lasting throughout the entirety of their three-hour performances.
Coachella’s embrace of electronic music has been growing for years, but 2025 may have been its most dance-forward edition yet. Artists like Sara Landry and Sammy Virji brought high-octane energy to their respective stages, with Landry’s hard techno and Virji’s UK garage selections making waves across social media. Keinemusik returned for a spiritual closing session under the Sahara Tent, while Zedd proved once again that nostalgic and progressive hits still have a place at Coachella. 
The Mojave tent — traditionally reserved for indie and alternative acts — had its own standout moments, with some even veering into dance territory. The Dare, The Prodigy, and Yo Gabba Gabba bought some of the best sets of the weekends to this side stage. The last of which — although seemingly out of place — turned out to be one of the most talked-about performances of the weekend, drawing a large, wildly enthusiastic crowd.
Meanwhile, the Yuma tent continued to serve as Coachella’s home for underground dance music. Sets from Dixon and Jimi Jules delivered deep, melodic journeys, while Francis Mercier and Indira Paganotto brought their respective global styles. Beltran — one of Dancing Astronaut‘s Artists to Watch in 2025 — impressed with a sleek minimal set, with some of the Yuma’s most heavily attended moments including Chris Stussy’s groove-heavy performance, Eli Brown’s darker-tech selections, and a euphoric pairing from Mind Against and Massano that many are already calling one of the highlights of the weekend.
Of course, the music didn’t end when the festival grounds closed. The afterparty scene across the Coachella Valley was alive and well, with Zenyara Desert Nights emerging as the crown jewel of post-festival events. Hosted by Framework and Patron, Zenyara welcomed a slew of special guests including Anyma, Mau P, and Vintage Culture. What made this year’s Zenyara events even more noteworthy was the fact that, for the first time, access was made available to the public via the Dorsia app, granting music lovers the chance to experience exclusive performances and dance under the stars until 4AM.
As the sun sets on another unforgettable year, Coachella’s commitment to evolving with the times while maintaining its iconic identity remains crystal clear. The continued emphasis on world-class electronic talent paired with unbeatable weather, hospitality, and community energy emphatically cements Coachella”s place at the top of every dance music fan’s must-attend event list. 
Featured image: Courtesy of Coachella
The post Dance music dominates the desert once again during Coachella’s 2025 edition [Review] appeared first on Dancing Astronaut.
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Photo Credit: Kneecap.ie
Irish rap group Kneecap is facing swift fallout post-Coachella—its U.S. booking agency has parted ways with the group while two German music festivals have dropped them from the lineup. Here’s the latest.
Independent Artist Group (IAG) has confirmed it has parted ways with the group following their appearance at Coachella. Without IAG’s sponsorship, Kneecap’s U.S. work visas are no longer valid. That means the group cannot perform in the country for the foreseeable future—at least until they find a new sponsor. The fallout isn’t exclusive to the United States, either.
Two of Germany’s largest music festivals—Hurricane and Southside—have dropped Kneecap from their summer lineups. Both events are organized by FKP Scorpio and were expected to host the rap trio following their Coachella performance. But organizers announced their removal in a move that was applauded by advocacy groups who cited the band’s support for organizations classified as terrorist organizations in both the U.S. and Europe. Kneecap responded to this removal by announcing smaller headline shows in Berlin, Hamburg, and Cologne this September.
Meanwhile, U.K authorities have opened an inquiry into Kneecap’s public comments, combing through past performances on stage. The group previously apologized for a 2023 incident in which they told a crowd ‘Kill your local MP’—sparking inquiry into the group’s other comments on stage. Kneecap says they reject any suggestion they would seek to incite violence against any individual and that the footage was taken out of context. The group has also further denied any support for Hamas or Hezbollah.
Kneecap now seeks new representation for touring in the United States and has reconfigured its touring plans across Europe due to the cancellations. The group is supposed to tour across the United States starting in October, so it will be interesting to see if they find a new work visa sponsor. The situation underscores the heightened sensitivities and real-world consequences facing artists who use major platforms like the Coachella music festival to address contentious global issues on stage.
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Seven Lions has announced "Prelude: Gathering Twilight," a limited engagement of just two performances he's calling his only headline shows of 2025.
Beloved for his emotionally charged melodic bass music, the renowned producer will take over New York City's SummerStage in Central Park on September 19th, joined by supporting acts Apashe and MUZZ. The second performance will unfold at Arizona's Rawhide Event Center on October 18th, featuring Apashe, Space Wizard and HVDES.
The cryptic title of "Prelude: Gathering Twilight" suggests these concerts may herald a new creative phase for Seven Lions, whose soaring blend of trance, progressive house and dubstep has long evoked elements of the mystical. The twilight imagery evokes his signature aesthetic of luminous moments balanced against darker electronic elements.
He's yet to provide more details, but the "prelude" nomenclature could indicate forthcoming music or perhaps a more extensive tour in 2026. In the meantime, the pair of performances represents a rare opportunity to experience Seven Lions' immersive live production this year, with the Central Park setting offering a particularly dramatic backdrop for his cinematic sound against Manhattan's skyline.
A pre-sale is scheduled to begin Wednesday at 10am local time before the general on-sale on Friday at the same time.
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Maverick Helicopters, the official helicopter charter for EDC Las Vegas, is back with its exclusive Electric Sky flight offering for 2025, offering 10-minute aerial tours of Insomniac’s famous Electric Daisy Carnival below.
With bookings available during the festival from midnight on Saturday, May 17, to the early hours of Monday, May 19, attendees can experience the festival’s iconic flyovers for themselves, soaring above the art, music, lights, pyrotechnics, and some 175,000 dancers below. Guests also get to glide over iconic stages like Kinetic Field, Cosmic Meadow, Circuit Grounds, and see the inner workings of the event from a whole new point of view.
New this year, for a more seamless experience, passengers will be transported from within EDC to Maverick’s nearby heliport. Festival admission is not included in the purchase of a flight, and all participants must possess valid admission to EDC to participate in the Electric Sky flight. 
Flights will depart at 12AM, 12:30AM, 2AM, 2AM, 3AM, and 3:30AM, with tickets priced at $399 per person. For more information or to book your Electric Sky tour, visit maverickhelicopter.com/electric-sky-tour. 
Those looking to beat festival traffic in style can also purchase Maverick’s EDC Las Vegas Transfer between the Las Vegas Strip and EDC’s home at the Las Vegas Motor Speedway. This 15-minute journey, the same luxury ride used by the festival’s biggest headliners, artists, and special guests, is available to book at maverickhelicopter.com/electric-daisy-carnival.
Featured image courtesy: Maverick Helicopters.
The post Maverick Helicopters Returns With 10-Minute “Electric Sky” Tours Above EDC Las Vegas appeared first on EDM Maniac.
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Maverick Helicopters, the official helicopter charter for EDC Las Vegas, is back with its exclusive Electric Sky flight offering for 2025, offering 10-minute aerial tours of Insomniac’s famous Electric Daisy Carnival below.
With bookings available during the festival from midnight on Saturday, May 17, to the early hours of Monday, May 19, attendees can experience the festival’s iconic flyovers for themselves, soaring above the art, music, lights, pyrotechnics, and some 175,000 dancers below. Guests also get to glide over iconic stages like Kinetic Field, Cosmic Meadow, Circuit Grounds, and see the inner workings of the event from a whole new point of view.
New this year, for a more seamless experience, passengers will be transported from within EDC to Maverick’s nearby heliport. Festival admission is not included in the purchase of a flight, and all participants must possess valid admission to EDC to participate in the Electric Sky flight. 
Flights will depart at 12AM, 12:30AM, 2AM, 2AM, 3AM, and 3:30AM, with tickets priced at $399 per person. For more information or to book your Electric Sky tour, visit maverickhelicopter.com/electric-sky-tour. 
Those looking to beat festival traffic in style can also purchase Maverick’s EDC Las Vegas Transfer between the Las Vegas Strip and EDC’s home at the Las Vegas Motor Speedway. This 15-minute journey, the same luxury ride used by the festival’s biggest headliners, artists, and special guests, is available to book at maverickhelicopter.com/electric-daisy-carnival.
Featured image courtesy: Maverick Helicopters.
The post Maverick Helicopters Returns With 10-Minute “Electric Sky” Tours Above EDC Las Vegas appeared first on EDM Maniac.
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